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Ashley Goodnight English 200 cards

Cards in this deck (200)

1—Apollo 11 stones
Charcoal on Stone
Portable
Depiction of Therianthrope
Animal or supernatural being
Found along with other tablets
2—Venus of Willendorf
Austria
Limestone
4.5 inches
National History Museum in Vienna
Icon of fertility
Red ochre
3—Great Hall of the Bulls
Lascaux France
Rock Painting
60 ft long
quality deterioration
4—Camelid sacrum in the shape of a canine
Tequixquiac, Central Mexico
Bone
Museum of Anthropology, New Mexico
Looks like a dog
5—Running Horned Woman
Tassili n'Ajjer, Algeria
Pigment on Rock
8 ft tall
on a plateau
no hands
6—Beaker with Ibex Motifs
Susa, Iran
Painted Terra Cotta
Found in a cemetery
11 inches, at Louvre
saluki: hunting dogs
ibex: mountain goat
7—Anthropomorphic Stele
Arabian Penninsula
Sandstone
3 ft tall, 8 inch
grave marker
minimalistic
necklace, dagger, awl
8—Jade Cong
Liangzhu, China
Carved Jade
found in tombs with bi's
like a tube
currently in a private collection
9—Stonehenge
Wiltshire, UK
Sandstone
posts + lintels
bluestone
trilithons
calendar + burial area
10—The Ambum Stone
Papua New Guinea
Graywacke
mortar + pestle
echidna
8 inches
buried with rich people
11—Tlatilco female figurine
Central Mexico
Ceramic
4 in by 2 inches
at Princeton
blended heads
duality
12—Terra Cotta Fragment
Lapita
Solomon Islands, Reef Islands
Incised
University of Auckland, New Zealand
13—White Temple and its ziggurat
Urak (modern Iraq)
Mud brick
sky god, Anu
corved labor: slavery?
14—Palette of King Narmer
Egypt
Greywacke
registers
mixed makeup
Museum of Cairo
15—Statues of votive figures, from the Square temple at Eshnunna (modern Iraq)
Gypsum inlaid with shell and limestone
Iraq Museum + the Met
oversized eyes, eternal awakeness
more naturalistic
offered for worship
16—Seated Scribe
Old Kingdom, Egypt
Painted limestone
Naturalistic, chubby
at Louvre
scroll of papyrus + missing brush
17—Standard of Ur from the Royal Tombs at Ur
Wood inlaid with stuff
registers
at British Museum
hierarchical scale
peace side + war side
18—Great Pyramids
Giza, Egypt (Old Kingdom)
Cut Limestone
cemeteries
mastaba: tomb
19—King Menkaura and queen
Old Kingdom Egypt
Greywacke
Museum of Art in Boston
step forward
dyad: two people
unfinished (no polish + writing)
20—Code of Hammurabi
Babylon
Basalt
7.5 ft tall, 2.5 ft wide
cuneiform
de jour: in law, de facto: in actuality
Ham + god of justice same height
laws in sections: intro, laws, and epilogue
21—The Temple of Amun-Re and Hypostle Hall
Luxor Egypt, New Kingdom
Cut sandstone + Mud brick
Amun: fertility
Re: sun, origin of life
clerestories: little top windows
pylons: gates where you walk, floor rises
22—Mortuary Temple of Hatshepsut
Luxor, Egypt New Kingdom
Sandstone, carved into cliff, red granite
statue in Met
nemes: traditional head cloth
fake beard, broader shoulders,
flattened chest
23—Akhenaton, Nefertiti and three daughters
Amarna Period, New Kingdom
Limestone
worship Aten: new sun god
ankh: symbol of life
Egyptian Museum in Cairo
cartouch: pharaoh's name
24—Tutankhamun's Tomb, innermost coffin
Gold inlay of enamel + semiprecious stones
3 coffins, gilded wood
nekhbet: vulture
wabjet: snake
crook: upper Egypt
flail: lower Egypt
25—Last judgement of Hu-Nefer, from his tomb (page from the Book of the Dead)
Painted papyrus scroll
British Museum in London
canopic jars with stomach, intenstines, lungs, and liver
prove lived ethical life
26—Lamassu from the citadel of Sargon 2
Alabaster
stood in gates of citadel to keep people out
not moving in front, but on side
human head, wings, body, bull earring
27—Athenian Agora
Archaic through Hellenistic Greek
stoa: building for certain god or business
bouletarion: business, administration, government building
28—Anavyos Kouros
Archaic Greek (w/smile)
marble
nudity
National Archaeological Museum of Athens
gravemarker
29—Peplos Kore
Archaic Greek
Marble + painted details
missing diadem
Acropolis Museum of Athens
30—Sarcophagus of the Spouses
Etruscan
Terra Cotta
urn for ashes
archaic smile
banqueters: lie down to eat
sagital split (kiln to small)
31—Audience Hall (apadana) of Darius + Xerxes
Persepolis, Iran
Limestone
bull + lion motifs
different people represented in carving
32—Temple of Minerva and sculpture of Apollo
Master sculptor Vulca
temple of wood, mud brick, or tuffa
terra cotta sculpture
gods: Minerva, Tinia (Zeus), and Uni (Hera)
detailed in Vitruvius' book, gone today
33—Tomb of Triclinium
Tarqunia, Italy (Etruscan)
Tufa and fresco
fresco bueno (not secio)
polychromatic
34—Niobides Krater
Clay, red-figure technique (white highlights)
no registers
used to mix water + wine
isocephalism: everyone is at the same height, same depth
Niobie bragged about her kids
35—Doryphoros (Spear Bearer)
Polykleitos Original
Roman marble copy, Greek bronze original
National Museum in Naples
guidelines of ideal man (cannon)
contraposto (bent knee, heel raised)
36—Acropolis
Athens, Greece
Marble
Parthenon
Athena Parthenos
Nike Statue
Pediment freize (Elgium marble)
37—Grave Stele of Hegeso
Kallimachos
Marble + paint
daughter of someone
servant holding jewelry box: necklace
38—Winged Victory of Samothrace
Marble
hellenistic (objects showing motion, energy)
wet drapery
voluptuous
sanctuary for god of fertility to protect sailors for safe travels
39—Great Altar of Zeus and Athena at Pergamon
modern-day Turkey
Marble
Museum in Pergamon, Germany
Freize of gods versus giants
Hellenistic (hyper-muscular)
40—Petra, Jordan: Treasury and Great Temple
Nabatean Ptolemaic
Cut rock
trading location (perfume)
broken pediment
41—House of the Vettii
Pompeii, Italy
cut stone and fresco
impluvium for rain
wall paintings and decorations to show wealth and status
42—Alexander Mosaic from the House of the Faun, Pompeii
depiction of depth
preserved in the ash
foreshortening (picture a pencil)
spears pointing at Alexander
43—Seated Boxer
Hellenistic (beaten up)
National Museum of Rome
Lost wax casting technique
cauliflower ear
emotional
44—Head of a Roman Patrician
Republic Rome
oligarchy: gov run by few people
verrism: what you see, exaggerate
wrinkles for wisdom
45—Augustus of Prima Porta
found in the Olivia's house
in Vatican Museum
contraposto
first emperor of Pax Romana
idealized: youthful and flawless
addressing troops
46—Colosseum (Flavian Amphitheater)
Rome, Italy
Concrete
Levels from high to low: doric, ionic, corinthian
wooden flooring
47—Forums of Trajan
spirals of story (Trajan defeating Dacians)
commemorated Trajan's death
near an open air market
48—Pantheon
Concrete with stone facing
Rotunda with columned face
Marcus Agrippa
Catholic Church today
Cut niches into roofing to make lighter
49—Ludovisi Battle Sacrophagus
depicts battle between Romans + Goths
high high relief (high as a kite)
everyone except hero is turned
hero has helmet
50—Catacomb of Priscilla
Excavated tufa and fresco
iconography
orant
Book of Daniel
Christian typology
Jonah was a prophet
51—Santa Sabina
Brick, stone, wooden roof
like a Roman basilica
scenes from Testaments
nave: central area
large space for congregation
52—Rebecca and Eliezer at the Well and Jacob Wrestling the Angel from the Vienna Genesis
Illuminated manuscript
tempera, gold and silver on purple vellum
Austrian National library
53—San Vitale
Ravenna, Italy
central plan
apse: semicircles
Justinian mosaics
egg and dart element
54—Hagia Sophia
Constantinople (Istanbul)
mihrab: wall facing mecca
clerestories
iconoclasm
commissioned by Justinian
today it's a Museum
55—Merovingian looped fibulae
broach
silver gilt worked in filigree, inlaid stones
4 inches long
migratory art, Visigoths of northern Gaul
cloisonne: inlaying semiprecious stones using solder for metal frameworks
56—Virgin Theotokos and Child between Saints Theodore and George
Encaustic (wax) on wood
compressed plain with limited body movement
symbolism over naturalism
57—Lindisfarne Gospels: St. Matthew cross carpet page, St. Luke incipit page
Illuminated manuscript
golden halo: divinity
interlace, influenced by Celtic, Irish
58—Church of Saint-Foy
Conques, France
Reliquary of Saint Foy
hosted people going on pilgrimage
miserable time for children (plague)
59—Bayeux tapestry
Battle of Hastings (Norman vs England)
William the Conqueror
Embroidery on linen
no depth, registers
230 ft by 20 inches
like a comic strip
60—Chartres Cathedral
Chartres, France
Limestone, stained glass
tympanium
pointy arches
relic: tunic of Virgin Mary
61—Dedication Page with Blanche of Castile
Illuminated manuscript
precious resources, expensive as hell
luxurious materials
62—Rottgen Pieta
Painted wood
lamentation
grief
wormhole infestation
big head
63—Arena (Scrovengi) Chapel + Lamentation
Padua, Italy
brick and bueno fresco
angels + 12 disciples
slightly gothic: pointed arches
64—Golden Haggedah (Plagues of Egypt)
illuminated manuscript
educational usage instead of graven images
65—The Kaaba
Mecca, Saudi Arabia
hajj: pilgrammage to Mecca
touch the black stone
66—Dome of the Rock
Jerusalem, Palestine
aluminum and bronze dome
ambulate around
spolia: repurposed stuff
No Jews allowed
Jews: Temple Mount
Muslim: Holy Sanctuary
67—Basin (Baptistere de St. Louis)
Brass inlaid with gold and silver
niello: black mixture of copper, sulfur, + lead
at Louvre
68—Alhambra
Granada, Spain
Whitewashed adobe stucco
garden representing paradise
caligraphy and vegetal patterns
69—Great Mosque (Masjid-e Jameh)
Isfahan, Iran
blue from lapis or cobalt
minarets like Trajan columns
muqarnas: cupped niches
ogival arches
70—Foilo from a Qur-an
currently at Morgan Library
mathematical rations of length + height
sura: chapter of the Qur-an
this was the story of the Spider about the fragility believing in a fake god
71—Great Mosque at Cordoba, Spain
red brick, horseshoe arches
vegetal patterns with repeated geometry
orange garden
72—Pyxis of al-Mughira
Ivory
given as a gift, not for worship
storing cosmetics
73—Bahram Gur Fights the Karg, folio from the Great Il-Khanid Shahnama
opaque watercolor
calligraphy
Chinese influence: trees, animals, positioning, and landscape
European: halo
74—The Court of Gayumars, folio from Shah Tahmasp's Shahnama
opaque watercolor
blending, luminous pigments
Chinese swimming clouds + branches
75—The Ardabil Carpet
Silk and wool
cartuse: rectangular square for caligraphy
mordant: dye + cloth
340 knots per square inch
76—Mosque of Selim II
Edirne, Turkey
Qibla wall: wall facing Mecca
madrassa: islamic schools
built to top Hagia Sophia
77—Jahangir Preferring a Sufi Shaikh to Kings
cherub: winged baby angels
Ottoman Sultan
James the first
Painter in corner
78—Taj Mahal
Agra, Uttar Pradesh, India
Mughal Empire
tourist attraction today
79—Great Stupa at Sanchi
circumambulation
high relief carvings of Buddha in lotus
chattras: symbolizes the three plates of Buddhism, darma, buddha, sangha
Four Noble Truths
80—Terra Cotta warriors from mausoleum of the first Qin emperor of China
Painted terra cotta
laquer: sap painted on
cinnabar: red color
different faces
81—Longmen caves
Luoyang, China
Limestone
4 Heavenly Kings (NESW)
carved into the wall
82—Jowo Rinpoche, enshrined in the Jokhang Temple
Lhasa, Tibet
conch shell necklace
kept in great condition
brought to Tibet in Chinese princess dowry
pilgrimage site
83—Funeral banner of Lady Dai
Painted silk
4 registers
1. heavenly realm
2. Lady Dai + servants
3. Body of Lady Dai + mourners
4. Otherworld, 2 black fish, 2 boats
84—Buddha
Bamiyan, Afghanistan
destroyed in 2001
cut rock with plaster and polychrome paint
greek hellenistic influence from Silk Road
circumambulate + leave offerings
85—Gold and Jade Crown
Three Kingdoms Period in Korea
antlers on the side (native reindeers)
made of gold alloy (fragile, worn for rituals)
found in a tomb
86—Todai-ji
Nara, Japan
Bronze + wood structure, ceramic tile roof
post + bracket
Mahayana
warrior statue + 40 ft Big Buddha
87—Borobudur Temple
Central Java, Indonesia
Volcanic stone masonry
Theravada
High Relief carvings depict life of Buddha
6 levels, 3 circular terraces
largest Buddha temple in the world
88—Temple: Angkor Wat, city: Angkor Thom
Khmer Empire
Largest religious monument in the world
Cambodia
Churning of the Ocean of Milk, story of the creation of the universe
89—Lakshmana Temple
Khajuraho, India
sandstone
Nagara architecture (rising peaks from mt)
womb chamber (holiest spot)
built to honor Janism
90—Travelers among the Mountains and Streams
ink and colors on silk
Fan Kuan
shifting viewpoint
Neo-Confucion
91—Shiva as Lord of Dance (Nataraja)
carried on a pole
4 arms
1. sounds the drum
2. holding a flae to destroy the universe
3 + 4. top is blessing, bottom relieves fear
hair of cobra snakes
92—Night Attack on the Sanjo Palace
Handscroll (emaki)
swift brushstrokes capture movement
birds eye view
short war between samuris
93—The David Vases
White porcelain with cobalt-blue glaze
owned by Sir Perceival David's collection
given to the British Museum after death
made for altar of Daoist temple
worshiped a general + his family
94—Portrait of Sin Suku
Imperial Bureau of Painting
Hanging scroll
official robe with rank badge
wrinkles of wisdom
Jesuit missionaries = naturalistic face
95—Forbidden City
Beijing China
picture of Mao Ze Dong
Gate of Heavenly Peace
palace complex for emperor and family
96—Ryoan-ji
Kyoto, Japan
Rock garden
wabi: refined austerity (simple elegance)
97—White and Red Plum Blossoms
Ogata Korin
ink, watercolor, and gold leaf on paper
Korin Style
98—Under the Wave off Kanagawa (Great Wave)
Polychrome woodblock print
mountain framed in background
ukiyo-e: pictures of floating worlds
Dutch trade in japan
99—Black-on-black ceramic vessel
Maria Martinez + Julian
National Museum of Women's Art DC
11 by 13 inches
integrated old techniques (more popular)
hand shape using coiled method
collected smoke to create dark color
100—Transformation Mask
ovoid shape
pull at a string to open face
potlach
mystic creatures to human face
formline style with 'u' or 's' shape
101—Painted elk hide
Wyoming
disproved primitive view Native Americans
raising a buffalo head to honor creator
used a stencil to replicate forms exactly
102—Chavin de Huantar
Northern Highlands, Peru
Lanzon: Great Spear
accoustic purpose for amplification of sound
contains a nose ring
103—Mesa Verde cliff dwellings
Colorado
Sandstone
moved after severe drought
kivas for ritual worship
multileveled
sun in winter, shade in summer
104—Yaxchilan
Chiapas, Mexico, Mayan
Limestone
Lady Xook with husband Shield Jaguar 2
auto-sacrifice blood for hallucinations
British Museum
105—Great Serpent Mound
southern Ohio, Eastern woodlands
swallowing the sun
earthmound
burial ground
106—Templo Mayor
Tenochtitlan, Aztec
Coyolxauhqui Stone (sister defeated by Hui)
Huitzilopochli was patron deity of Mexica
Tlaloc: rain god
107—Ruler's feather headdress
(probably of Moctezuma II)
Aztec (Mexica)
materials from vast empire
tribute system
Quetzal: blue green
Cotinga: light blue
108—City of Cusco
Qorikancha: shrine
stones irregular, perfect fit w/o mortar
Incan
mita: everyone in empire had to work for a set amount of time
109—Maize cob
Sheet metal: repousse
naturalistic
Incan
homage to agricultural power
110—Machu Picchu
Central highlands, Peru, Incan
Granite
royal retreat
ihtihuatana: sun dial
111—All-T'oqapu tunic
Camelid fiber and cotton
alternating colors and shapes
cochineal: insect that makes red dye that lives on the prickly pear cactus
Incan
112—Frontispiece of the Codex Medoza
Viceroyalty of Spain
made by the Aztecs
priest with ear cut off, blood letting
eagle on cactus
skull rack
113—Bandolier Bag
Delaware tribe (Eastern Woodlands)
Beadwork on leather
Venice was center of bead production
Prairie style, floral patterns
non-Native American trade
leather ceremonial outfits
114The work (Jade Cong) shown was created during the prehistoric period in what is now calledLiangzhu, China
115The work (Jade Cong) was created by manipulating which of the following materials?A difficult-to-carve mineral called jade, formed using precise sanding techniques
116Works such as the Jade Cong have been discovered primarily ingravesites, where they were likely placed as part of funerary practices
117While the exact function and meaning of the Jade Cong remains unknown, scholars have theorized that they were intended to facilitate a connection between the physical and spiritual worlds because of theinterlocking square and cylindrical forms, which are believed to symbolize different realms
118The vessel shown (Beaker with Ibex motifs) was created usingpainted terra cotta
119The Beaker with Ibex motifs was made between4200 and 3500 B.C.E
120Scholars believe that the Beaker with Ibex motifs was most likely used in a ritual context for which of the following reasonsIt was buried in a cemetary, underneath an aritficial mound
121Scholars have theorized which of the following about the stylized animals painted on the Beaker with Ibex motifsThey represent both the wild and the domesticated animals of an agricultural society
122Some archaeologists have speculated that the Ambum Stone represented a totemic animal, while others suggest that the Ambum Stone wasa tool used to grind or pound substances
123While most scholars agree that the specific purpose of the work shown can no longer be determined, some have speculated that the artist chose to usea sacrum bone because it may have had spiritual significance
124The artist who created the Neolithic rock painting shown from Tassili-n-Ajjer, Algeria, most likely drew lines and dots on the bodies of the figures torepresent physical ornamentation that was used in ritual contexts
125The detail of the cave painting shown is visually similar to those found in the Great Hall of the Bulls at Lascaux in that theanimals are depicted in profile to convey their distinctive qualities
126The megalithic structure shown uses a similar building technique to that of Stonehenge, in that the stones arearranged with upright vertical elements supporting a horizontal element
127The anthropomorphic stele found near Ha'il, Saudi Arabia, is believed to have functioned as agravemarker, because it was found in a funerary context
128The form of the Tlatilco female figuring best expresses a concept of duality through theinclusion of two connected heads on a single body
129The pattern of a human face on the terra cotta fragment from Lapita was most likely created using which of the following methodsIncising
130The Apollo 11 stones may have functioned asan early form of portable art
131Most scholars believe that the bluestones used during the early construction phases at Stonehenge weretransported with difficulty from a distant site, showing an ancestral connection to that region
132Which of the following was one technique employed by Paleolithic artists at the Great Hall of the Bulls at Lascaux to create the clear lines of the animal's formUsing hands as stencils while blowing pigments to spray a surface
133The form of the anthropomorphic stele is best described asstylized
134The Seated Boxer was created in the style associated with which of the following cultures?Hellenistic Greek
135The Seated Boxer was created using which of the following techniques?Lost-wax casting to mold bronze into a hollow form of the figure
136The Seated Boxer demonstrates a shift in style from earlier depictions of athletes through itsinclusion of a broken nose and multiple wounds to elicit empathy from the viewer
137In its naturalistic pose, the Seated Boxer is most similar to which of the following works?Victory adjusting her sandal
138The Pantheon in Rome is believed to have been built asa temple dedicated to the worship of the gods
139In order to support the immense weight of the Pantheon's dome, Roman imperial architects useda think-walled rotunda on which the coffered dome rests
140The inscription "Agrippa" in te entablature frieze was included most likely to reference theconsul who had commissioned an earlier structure on this site
141Ancient Roman audiences would most likely have responded to the experience of entering the Pantheon in which of the following ways?With surprise, because the vast circular interior is not suggested by the columned rectilinear facade
142The relief of Akhenaton, Befertiti, and three daughters was most likely originally displayedin a household shrine used for private worship
143Akhenaton, Nefertiti, and three daughters demonstrates continuity within ancient Egyptian artistic traditions through itsdepiction of figures in composite poses
144Akhenaton, Nefertiti, and three daughters demonstrates change within ancient Egyptian artistic traditions through itsrendering of the human body with elongated, curvilinear forms
145The changes in artistic practices during the Amarna period that are exemplified by Akhenaton, Nefertiti, and three daughters were most likely caused bythe introduction of new religious beliefs
146The portrayal of Akhenaton and Nefertiti would have been viewed in its original cultural context as unconventional by it ancient Egyptian audience because it showsthe pharaoh and his family in an affectionate scene
147The architectural complex shown is the Audience Hall (apadana) of Darius and Xerxes at Persepolis, built circa520 - 465 B.C.E
148The Audience Hall (apadana) at Persepolis reveals the vastness of the Persian Empire byincluding artistic styles and materials from the different cultures ruled by the Persians
149The sculptural program on the stairs leading to the apadana reflect the function of the Audience Hall as the seat of the seat of the Persian King by depictingforeign representatives in various regional attire carrying offerings to represent the many subjegated peoples who paid tribute to the empire
150The creator of Tutankhamun's innermost coffin depicted the pharaoh holding the crook and flail most likely toassert Tutankhamun's power and authority beyond the earthly realm
151Apollodorus of Damascus included which of the following components in his overall design for the Forum of Trajanan adjacent multilevel public market
152Although the Great Altar of Zeus and Athena at Pergamon was created as a religious structure, analysis of its sculptural program within its original context suggests that the structure also servedcelebrate an important military victory of the Attalid Dynasty
153How do the visual characteristics of the statues of votive figures from the Square Temple at Eshuanna reflect the religious context in which they were originally intended to function?They are depicted with large eyes and prayerful gestures to illustrate their eternal attendance and devotion to the deity on a donor's behalf
154The Hypostyle Hall at the Temple of Amun-Re at Karnak most likely includes columns resembling blossoming papyrus stalks within enormous, dimly lit interior to evoke in visitors the impression ofwitnessing the creation of the world arising from the primordial sea
155The sculptural work shown (Grave Stele of Hegeso) can be attributed to Classical Greek because of itsidealized depiction of the figures within an architectural setting
156The work shown can be identified as a Roman wall painting because of which of the following visual characteristics?A sense of depth created by placing the figures in an architectural space
157The architect of the ancient Roman structure shown most likely included octagonal ceiling coffers in the building's design in order toreduce the weight of the concrete barrel vaults
158The statue of Augustus of Prima Porta is most similar to which of the following works?Doryphoros (Spear Bearer) because of its idealized proportions and contrapposto
159The Great Pyramids at Giza were most likely designed in the same shape as the traditional benben stone to emphasize their function as places wherethe deceased ruler was reborn and ascended to the sky
160The Ludovisi Battle Sacrophagus demonstrates a change from earlier Roman relief sculpture in itsrejection of perspective to create a crowded scene of chaos
161The plan shown of a villa near Pompeii demonstrates the inclusion of which of the following elements of Roman domestic architecture?A peristyle or colonnaded courtyard
162In the Etruscan sacrophagus shown, the reclining figures on the lid are presented through the use ofhigh-relief modeled clay painted with polychrome accents
163The metope shown, from the Parthenon, conveys a sense of motion and drama through which of the following techniques?Relief so high that some forms project beyond the picture plane
164Michelangelo's altar fresco in the Sistine Chapel differs from medieval depictions of the Last Judgement, such as the sculpted representation of the tympanum of the Church of Sainte-Foy, in that Michelangelo's depiction of Christdepicts him with a muscular body and in a dynamic pose
165In the Scenes from the Apocalypse from a Bible moralisee, the use of rich coloration a segmented composition, and instructional content were most likely influenced bystained-glass presentations of religious narratives used in medieval church windows
166The artist who created the Scenes from the Apocalypse chose imagery that was intended to elicit which of the following responses?Deeper understanding of the relevance of biblical stories to the era in which viewers lived
167The study of Bibles moralisees from the thirteenth century was influential on the creation of other medieval manuscripts in part because thesumptuous materials such as gold leaf demonstrated the wealth and taste of the works' patrons
168In the Middle Ages, Chartres Cathedral drew many visitors, primarily because ithoused an important relic of the Virgin Mary in its crypt
169The architects who rebuilt Chartres Cathedral after a fire in 1194 CE employed an innovative ground plan and flying buttresses that became exemplary of High Gothic churches by enablingan increase in the height of the central nave while also allowing for enlarged clerestory windows
170The designers of Chartres Cathedral intended medieval visitors entering the church to experiencea mystical atmosphere created by the colored light filtering through the many stained glass windows
171The Bayeux Tapestry depicts which of the the following historical events?The Norman Conquest
172In Angel with Arquevus, Asiel Timor Dei, the Master of Calamarca (La Paz School) has posed the figure of the angel with a Spanish firearm most likely to suggest theprotective power of angels as divine defenders of the Catholic faith
173At the Great Mosque of Cordoba, architectural expansion was used by the Umayyads toreinforce the power and grandeur of their rule
174The Virgin (Theotokos) and Child between Saints Theodore and George exemplifies early Byzantine pictorial conventions through the use ofa flattened perspective in a composition with spatial ambiguity
175The early Christian church Santa Sabinawas modeled on the general plan of an ancient Roman basilica in part because theclerestory windows admitted glowing light that served a practical and spiritual function
176The plan for the Court of the Lions at the Alhambra included an open-air patio with a carved, centrally placed fountain surrounded by ornamental plants, a design that was mainly intended to elicit a sense oftranquility and reflection, such as might be experienced in the gardens of paradise
177Which of the following descriptions is a characteristic of the work shown that identifies it as a panel painted by Giotto di Bondone in the Arena ChapelStaged composition with theatrical gestures to draw the viewer into the scene
178The work shown can be identified as stylistically similar to the Rottgen Pieta because of which of the following characteristicsPhysical and emotional suffering of the figures that is depicted to elicit strong feelings from the viewer
179Some art historians have theorized that in the Justinian panel at San Vitale, the artist divided the figures into three distinct but equal groups in order tosymbolize the need to balance imperial, military, and religious powers
180Because of the secular nature of the work, the ornamentation of the Basin differs from mosque ornamentation by incorporatinghuman figures
181One reason for the central plan of the Dome of the Rock is toaccomodate the practice of circumambulation around a sacred space within
182Although the facade of the Treasury of Petra contains many Greek architectural elements, it also departs from Classifcal Greek architecture in itscombination of a broken pediment and tholos
183The influence of different stylistic traditions that can be seen in the Treasury of Petra reflects thecentral role that long-distance trade played in Nabataean society, resulting in exposure to other cultures
184Visitors of the Kaaba approach the shrine in hope oftouching the Black Stone, which is embedded in the eastern corner of the Kaaba
185Jowo Rinpoche's gilded surface and his jewel-encrusted throne and robes are likely perceived by the visitors as expressing thedivine origin of the statue and its close connection to the historical Buddha
186Which of the following statements most logically links the form of the Bamiyan Buddhas to the method in which they were created?The statues were carved standing, creating simpler contours than if they were steaded
187Although most of the statues' bodies were carved in high relief, the areas around each head and the feet of the larger statue were freestanding in order to providespaces for circumambulation and meditation
188Features of the statues that reflect Greco-Roman as well as Asian artistic traditions are best explained byBamiyan's location on the Silk Road
189In Il-Khanid courtly culture, the figure of Bahram Gur from the Bahram Gur Fights the Karg folio in the Great Il-Khanid Shahnama would have symbolizedcivilized rule overcoming turmoil or disarray
190The choice of traditional subject matter for the illustrated manuscript of Shahnama completed under the direction of Shah Tahmasp in c. 1330-1340 CE is significant because it demonstratesawareness of the sense of cultural identity Persians drew from Firdawsi's poem
191The production of the highly detailed pattern design of the Ardabil Carpet was facilitated by thehigh knot count of the woolen pile
192The Court of Gayumars is characteristic of traditional Persian minatures in itscrowded composition, multiple viewpoints and complex details
193The central significance of the Kaaba in Mecca is reflected in other Islamic architecture in thatthe plans of all mosques are oriented towards its location, as the center of Islamic prayer
194The artist conveyed a sense of implied depth in the Court of Gayumars folio frmo Shah Tahmasp's Shahnama byoverlapping human figures and landscape features
195For greater stability, the Inka builders of the Walls of at Saqsa Waman usedirregularly sized stones fitted together without any mortar
196Works such as the transformation mask reflect the common belief of the Kawkwaka'wakw, an indigenous people of the northwest coast of Canada, thatmythical creatures have the ability to change shape into humans
197Maria and Julian Martinez' experimentation with the firing process for works such as the black-on-black ceramic vessel reflected their desire tointegrate older pottery designs with ceramics that would appeal to collectors
198The transformation mask is recognizable as a work created by the Kwakwaka’wakw of the northwest coast of Canada because of itsbilateral symmetry and ovoid shapes with undulating outlines painted on wood
199The structure shown can best be descried asa step pyramid
200The Qorikancha in Cusco functioned as ashrine